A Quote by Tatyana Tolstaya
I don't want to deal with big, grand themes in my stories; art has nothing to do with themes. When you deal with themes, you are not creating; you are lecturing.
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While many of my musicals deal with big themes and ideas, I don't intentionally go looking to write shows like that. A story will interest me, and then somewhere along the way, I discover that hidden inside are these epic themes.
There are themes that somehow stir me and that I find very interesting. They're themes that deal with leadership, the nature of bravery and courage, and how to define those.
I think comedy and satire are the strongest ways to deal with very serious themes and very painful themes.
If somebody asks me about the themes of something I'm working on, I never have any idea what the themes are. . . . Somebody tells me the themes later. I sort of try to avoid developing themes. I want to just keep it a little bit more abstract. But then, what ends up happening is, they say, 'Well, I see a lot here that you did before, and it's connected to this other movie you did,' and . . . that almost seems like something I don't quite choose. It chooses me.
We learnt a lot because we got in with real choreographers who tell you what they need from a song, because a song has to advance the story. Then real directors like Mike Nichols tell you where you can have 'B themes' and 'C themes', and we go oh yes, B themes and C themes! So we were taught in the finest school amongst the finest people. And also by the school of experience.
I mean these are universal themes. I try not to preach, for sure. I don't enjoy movies that preach - so I don't want to preach myself when I tell stories because I just feel all of these themes are built into us in terms of redemption and mercy and love and compassion and all these things. And the negative sides, as well.
I'd already made the decision before I'd even read it-just because it was John Sayles. Then when I read it, the themes were actually themes that have been a big part of my life.
Introduce your main characters and themes in the first third of your novel. If you are writing a plot-driven genre novel make sure all your major themes/plot elements are introduced in the first third, which you can call the introduction. Develop your themes and characters in your second third, the development. Resolve your themes, mysteries and so on in the final third, the resolution.
What I think of as 'freakonomics' is mostly storytelling around an idea - not a theme but an idea. I like ideas much more than themes. Themes are boring. Themes are, 'Wool is back,' but ideas are, 'Why is wool back?'
The problem with themes is that writers don't realise they are themes until someone points them out.
I think so many of the themes from the natural world mimic emotional themes in our lives.
Art is built on the deepest themes of human meaning: good and evil, beauty and ugliness, life and death, love and hate. No other story has incarnated those themes more than the story of Jesus.
You can get anything from Mozilla Firefox-based themes to nature themes to your own photographs.
I don't really do themes. I might accidentally, but themes are an emergent phenomena of the writing of the book, of just trying to get a story out there.
I'm always thinking about the next record. I've got like 20 different themes and then I'll scratch the themes. It's a learning process.
I find I can't get rid of my trashiness as an artist. A lot of my themes in painting, to the extent that there are intentional themes, are meant to bring that conundrum into high relief.
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